“That was my occupation”: Oral narrative, performance, and black feminist thought

Madison, D. Soyini

doi:10.1080/10462939309366051

Cited by 79 publications

(32 citation statements)

References 7 publications

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“…By adapting Moraga and Anzaldúa () notion of “theories in the flesh,” we seek to demonstrate the potentiality of personal narrative as a method to expand the boundaries of communication theory building. As Madison () suggested, “Theories in the flesh means that cultural, geopolitical, and economic circumferences of our lives engender particular experiences and epistemologies that provide philosophies about reality different from those available to other groups” (pp. 213–214).…”

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confidence: 99%

Disidentifications Revisited: Queer(y)ing Intercultural Communication Theory

Eguchi

Asante

2015

Commun Theor

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In this theoretical essay, we revisit Muñoz's (1999) highly influential theory of disidentifications to explore the potentiality of queer (of color) identities, performances, and politics in intercultural communication processes. We seek to interrogate the fluid and complex nuances of (dis)identifications with hegemonic relations of power, oppression, and privilege through our narratives as queer transnational/migrant men of color. By arguing that sexuality, sex/gender, and body function as significant facets of overall identity, we move forward to discuss larger implications of disidentifications to communication theory.

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confidence: 99%

Disidentifications Revisited: Queer(y)ing Intercultural Communication Theory

Eguchi

Asante

2015

Commun Theor

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“…Black feminists have long argued that new theoretical concepts of gender should spring from women's quotidian practices (Collins 1990;hooks 1990;Madison 1998). Since the performances discussed here deal in the quotidian, they offer receptive spectators new ways of conceiving gender and sexuality in Africa.…”

Section: African Feminism and Festival Frameworkmentioning

confidence: 95%

Recasting Transnationalism through Performance

McMahon¹

2014

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Culture and performance cross borders constantly, and not just the borders that define nations. In this new series, scholars of performance produce interactions between and among nations and cultures as well as genres, identities and imaginations.Inter-national in the largest sense, the books collected in the Studies in International Performance series display a range of historical, theoretical and critical approaches to the panoply of performances that make up the global surround. The series embraces 'Culture' which is institutional as well as improvised, underground or alternate, and treats 'Performance' as either intercultural or transnational as well as intracultural within nations.

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“…10 Cape Verdean intellectuals recognized the critical role of oral history in constructing national identity soon after independence. 10 Cape Verdean intellectuals recognized the critical role of oral history in constructing national identity soon after independence.…”

Section: From Oral History To Theatre: Approaching the Historical Imamentioning

confidence: 99%

Mimesis and the Historical Imagination: (Re)Staging History in Cape Verde, West Africa

McMahon¹

2008

Theatre Research International

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This article examines what is at stake when performers and playwright critically transfigure oral histories when staging them theatrically. Representations of race and colonial history are integral to a nation's conception of its own cultural identity. These issues are at the forefront of many theatre productions in Cape Verde, an intensely creolized West African nation whose islands bear traces of the Europeans and Africans who have commingled there for centuries. The article examines two performances rooted in Cape Verdean history that challenge existing theoretical paradigms for the mimetic relationship between actors and the historical personae they portray onstage. Proposing the concept of the ‘historical imagination’, it explores how theatre artists self-consciously alter the local history they circulate to an international theatre festival stage and, concomitantly, how the theatre festival context and media coverage profoundly impact how national history is told within a global performance arena.

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“That was my occupation”: Oral narrative, performance, and black feminist thought

Cited by 79 publications

References 7 publications

Disidentifications Revisited: Queer(y)ing Intercultural Communication Theory

Disidentifications Revisited: Queer(y)ing Intercultural Communication Theory

Recasting Transnationalism through Performance

Mimesis and the Historical Imagination: (Re)Staging History in Cape Verde, West Africa

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